Sisi Yoshiyoshi

Sisi is a Japanese painter living in Kobe. She draws dinosaurs with ink and natural mineral pigments on Japanese paper. The Mineral pigments are particles made by crushing minerals of various colors.


Born: Japan,1988

Lives/Works: Kobe, Japan

Education: B.A., Ehime University, 2011


Sisi takes as her cue to paint what she wants to paint. A consciously defined concept for a work of art confines the work to the limits of consciousness. The various things that people encounter every day are not always visited by things that fit the concept they have. The world that the human eye can see is very limited, and the world that logic can capture is also limited. What she desires from the bottom of her heart is one of the few but great realities she can capture. She paints with what she truly desires as her guiding principle.



<Existence in the age of science acceptance, as seen in “Kyo”-voidness->

With the development of science and capitalism, human knowledge has become more complex than one person can possibly accept in a lifetime. The emptiness that cannot be filled in a relative society that has lost sight of the big picture has given rise to endless consumption and hidden violence.

Mark Rothko (1903-1970) attempted to fill this unfilled hole in the heart of modern man with the sensual and shimmering colors and shapes of experience.

He realized a prayer space that could contain all people in a modern society that has lost God, but the fixed object as a substitute for God has been consumed as part of the commodity in the consumer society. The work did not continue to fill the great hole in the heart, but drove the artist to suicide. In an age of constantly shifting circumstances, it may have been unreasonable to seek all answers in only one fixed and sublime object.

In the Japanese culture that Okakura Tenshin (1863-1923) described in The Book of Tea, there is a philosophy that affirms imperfection and emptiness as the source of change. They find in the mundane and trivial things the greatness of life and nature as equal to man.

It affirms modern science/technology/society as something born out of nature, and sees that to be in flux is to be alive. This can be one way to find a way to come to terms with nature, including human beings, rather than with the inexhaustible and ever-expanding desires and endless destruction of nature created by the hole in our hearts that can never be filled.

She tries to find existence in poor and trivial things by using lines and planes that contain poor and imperfections to deal with complex and concrete things that have been taken in by science, technology, and society.

She believes that the fusion of elements of Japanese art, which affirms change and contemplates the joy and sorrow of life, with contemporary science/technology/society will protect humanity from the excessive consumption and destructive impulses created by the emptiness of relativity.